LeapBackBlog 2012 Film Awards – Part 5: Films

Film in 2012 may not have been quite as strong overall as 2011, but right at the top there were a lot of good and very entertaining films. 2012 also featured many wonderful performances, particularly among men (many great performances that would have made my lists in past years were sadly left off). The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 3: Directors

Part 4: Leading Performances

The Avengers

So many of us fans of Joss Whedon, who have known he was a great writer and filmmaker for years, were vindicated in 2012 with (both The Cabin in the Woods and) The Avengers. Whedon’s film that wraps up phase one of Marvel Studio’s adventures is probably the most entertaining cinematic experience of the year. It sees Iron Man, Thor, the Hulk, Captain America, Hawkeye, and Black Widow all team together to save Earth from an alien invasion that Loki has brought on. Whedon brings a wonderful combination of humor, drama, and character to the film – it is exciting, action packed, hilarious, and full of great character moments. It is the epitome of fun blockbuster filmmaking (and what we Whedon fans completely expected it to be).

Cloud Atlas

Leave it to the Wachowskis and Tom Tykwer to make the most insanely ambitious film of the year with Cloud Atlas. It features six stories across the history of man. Each story deals with human relationships and traits – love, friendship, freedom, and bravery – and each is connected in some way. The epic scale and scope of the film is staggering, and it is amazing that it even came off at all, let alone as brilliantly as it did. The troupe of actors are all asked to play multiple characters, many of which are against type (and even race and gender). What is the most impressive about the film is how well it is woven together, as it never drags or feels like it is not building towards something. In today’s cinema landscape in which blockbusters are seemingly solely remakes, rehashings, and sequels (which are mostly broad, boring generic films), Cloud Atlas is an essential epic, as it dares to be original, challenging, and adventurous.

The Dark Knight Rises

The Dark Knight Rises was the film I was most looking forward to seeing in 2012, and it did not disappoint as it is my favorite film of the year. Christopher Nolan’s The Dark Knight Trilogy ends with grand conclusion. Taking place eight years after The Dark Knight, Bruce Wayne must return as Batman to face is most physically daunting foe in Bane, who is looking to complete Ra’s al Ghul’s work and destroy Gotham City. Nolan’s narrative features the great action set pieces and genre staples to go with his deft directing to make it a superb adventure film, and satisfying finale, but it is the rich characters (and brilliant performances led by Christian Bale, Tom Hardy, and Anne Hathaway) and emotional moments that make it something more, something special. Nolan’s trilogy is the benchmark that all comic-book films will be measured against (and it is a very high bar).

Django Unchained

Wildly violent, almost to a cartoonish level of excess, and sharply written, Django Unchained is a highly entertaining western/revenge drama. Like all Quentin Tarantino films, it is full of B-movie references, artistic filmmaking, great performances (from Jamie Foxx, Christoph Waltz, Samuel L. Jackson, and Leonardo DiCaprio), and spirited dialog. Django is a slave who is freed by a German bounty hunter (Dr. King Schultz) who needs his help tracking down his latest bounty. They become friends, and Schultz wants to help Django rescue his wife from a plantation in Mississippi owned by the brutal and dastardly Calvin Candie – a suicide mission. Tarantino uses his narrative to portray the South in a very unflattering manner, directly challenging the myth purported by films like Gone with the Wind – and to this endeavor, the film is quite striking and effective (without losing an ounce of entertainment).

Killing Them Softly

Much like last year’s Drive, Killing Them Softly is a different take on the crime drama genre. On its surface, the narrative is that of a typical crime drama (and works on that level too) – some low level thugs knock-off a protected game, so the mob sends in a professional to kill them and retrieve the money – but Andrew Dominik uses the format for so much more. The film plays as a comment on the financial crisis that America faced in 2008 and the need of a bailout to seeming save the country from disaster. From the constant stream of financial and political news talking-heads in the background to the filming location being the dilapidated post-Katrina New Orleans and the characters being veiled stand-ins for those involved in bringing the financial markets down, Killing Them Softly seems to be a fairly exacting shot at capitalism – one that also has stunning aesthetics and brilliant performances (particularly from Brad Pitt) at is core.

Life of Pi

As someone that generally thinks 3D is a waste of everyone’s money because it mostly just detracts from the cinema experience, Life of Pi and its use of 3D blew me away. Ang Lee uses the format not to exploit (less than knowledgeable) filmgoers for their money, but rather to heighten the beauty and the grand experience of the film’s journey. I forgot I was even watching a 3D film – that is how well it is integrated. It is a wondrous experience. The story tells the adventure of Pi, a young man who travels from India to Canada with his family along with their zoo animals, only to be the sole human survivor of a horrific storm that takes the ship. Pi finds himself adrift in a life boat with only a zebra, hyena, and Bengal tiger named Richard Parker. Life of Pi is the kind of filmmaking that all epics should strive to be – it is maybe the most beautiful and fulfilling cinematic experience of the year.

The Master

The Master seems to perfectly capture the mood of the time it takes place in – the sense of loss, isolation, and disconnection of those returning from WWII mixed with the façade of force-fed family values by government and advertising (that would shape America in the early 1950s). Freddie Quell (wonderfully played by Joaquin Phoenix) is lost in society returning from the war, but he finds a place with the eccentric Lancaster Dodd (played by the equally great Philip Seymour Hoffman), a charismatic cult leader. Quell is drawn by the intrigue and grand con of Dodd and his Cause and Dodd seems to be fascinated in the wildness of Quell. Paul Thomas Anderson’s narrative is not so much a streamline story, but an experimental emotional study of Quell and his internal struggle. Anderson uses all his filmmaking tools to make the film a visceral experience, and one that is utterly compelling and fantastic (my personal love of grand genre films aside – aka my love of The Dark Knight Rises – The Master is probably the best film of 2012).

Moonrise Kingdom

Quirky, charming, genuine, and a complete joy to watch – Moonrise Kingdom is auteur Wes Anderson’s seventh feature film. It follows two kids Suzy and Sam who run away together to camp out and explore their budding romance. Anderson’s narrative (as his films often do) feels like it takes place in an alternate reality, in which kids are full of budding potential and adults are somewhat melancholia at having never reached theirs. Aesthetically, it feels and looks just like one familiar with Anderson’s work would expect, as Anderson has a flair for aficionado directorial moments (long takes, lots of camera moves, and stylistic blocking – basically every element of every frame is specifically designed to look the way it does down to the smallest detail by Anderson). What is different, however, about Moonrise Kingdom as opposed to Anderson’s last few features is that it wins over its audience in total by the end, even those not enamored with Anderson’s unique style with its warmth and likable characters.

Skyfall

James Bond is a character all filmgoers know and most love. With Skyfall, director Sam Mendes welcomes the nostalgia and classic franchise elements that make James Bond great while also bringing a more modern take to the series (keeping with the trend of the Daniel Craig films). In his latest adventure, Bond finds himself facing off against maybe his most equally matched villain (well, since GoldenEye) – another MI6 agent formally shepherded by M named Silva (who is fantastically played by Javier Bardem). He knows just where to strike to hurt M and cripple MI6. Bond must takes refuge in his past to protect M. This is one of Bond’s more personal films, which benefits it greatly as the character work is strong. Mendes also does a wonderful job of making a Bond film that feels fresh, but completely embraces and brings back many of the elements of classic Bond films (it is the best of the Craig era so far).

Zero Dark Thirty

Zero Dark Thirty is Kathryn Bigelow’s Heart of Darkness (so to speak). The film details a CIA agent’s (Maya, played by Jessica Chastain) journey into the darkness to find and ultimately kill Osama bin Laden. It is an emotionally arduous yet rewarding experience as Bigelow expertly uses suspense and tension to pull the audience in with intense moments – and it is an interesting story. As a character drama, it works very well – Chastain is brilliant as Maya, a woman who has given everything of herself to finding bin Laden. Bigelow tells the story without a political slant, rather it is more about the sacrifices that men and women have made to try and keep America safe (or simply to do their jobs and what they think is right).

Honorable Mentions (11-25):

Anna Karenina, Argo, The Cabin in the Woods, Chronicle, The Five-Year Engagement, Flight, The Hobbit: An Unexpected Journey, Little White Lies, Looper, The Perks of Being a Wallflower, Rust and Bone, Safety Not Guaranteed, Silver Linings Playbook, Ted, and This Is 40

Life of Pi (2012) in 3D – Review

Review: Life of Pi is a phenomenally beautiful and fulfilling cinematic experience. The film is about Pi, a young Indian man and the son of a zookeeper. Pi’s family decides to uproot from India and move to Canada, and in the process they plan to sell all the animals in their zoo. They embark for North America with their animals aboard a Japanese freighter. However, shortly into the journey, the ship encounters a massive storm and begins to take on a catastrophic amount of water, sinking to the bottom of the ocean. Miraculously, Pi survives this disaster, but finds himself cast away stranded on a lifeboat with the zoo’s ferocious Bengal tiger. As they both struggle to survive, they form an unlikely bond.

Life of Pi is shot in 3D – a medium that is nothing more than gimmick allowing studios and theatres to charge more for tickets adding little to  (if not completely detracting from) the movie-going experience. However, with this film, the use of 3D is seamless, un-abrasive and even beautiful. It is one of the few films (Avatar being maybe the only other movie in which this is the case) that 3D adds something and is well worth paying extra for. Director Ang Lee is able to fully integrate the technology into his aesthetic style for the film, taking advantage of what 3D offers when utilized correctly (and not merely as a lazy, poorly executed way to make money).

The film has the feel of a grand epic story (similar to The Curious Case of Benjamin Button). Lee structures the narrative to be more about the character of Pi than just his adventure, going into how he got his name, his faith and his first love – all of which happens before he ever gets on the ship. This gives the film a very long first act, but it contributes so much to the character and Lee’s presents it all with a magical elegance, as if the audience is about to be treated to something special. Thus, the build-up only makes it better. It also gives the film a needed mythical quality (like a tall-tale), allowing the audience to accept the grand scale and extraordinary events (again, much like The Curious Case of Benjamin Button).

Lee makes a potentially risky narrative choice with the way the narrative is structured. The film begins with Pi as an adult telling his story to a writer (and then cutting back to him throughout the story). By showing Pi as an adult, Lee has informed the audience right off that Pi survives his great adventure, and thereby seemingly lessens the tension and suspense, as the audience knows he is going to be fine in the end. However, having adult Pi as the storyteller adds an extra layer of emotion, both nostalgic and in his ability to reflect on what he lost. This gives the audience a much deeper connection to Pi.

The film is also about so much more than just the action, thus the perceived loss of tension and drama from Pi’s struggle to survive (as the audiences already knows that he does) is not really that important. Plus, Lee’s staging is completely on point for the shipwreck scenes and all of Pi’s intense moments on the lifeboat. These scenes are exciting, scary, and utterly engaging. Thus, knowing Pi survives does not really factor into the emotional reaction to what the audiences experiences during Pi’s adventure. It is a thrilling and visceral adventure for the audience.

As set up in the first act with the stories about how Pi came to be a Hindu, a Christian, and a Muslim, Pi’s adventure is primarily a story about faith, surrender and acceptance – a spiritual journey. Lee presents the scenes of Pi isolated on the lifeboat with the Bengal tiger (Richard Parker) with almost an angelic splendor, and also completely perilous. The imagery is wondrous and exquisite. Films featuring an isolated character often delve into man’s relationship with god, and this is no different. Pi is perpetually on the brink of death, and yet fortuitous events prop him up and keep him going. His relationship with Richard Parker can also be viewed in a spiritual way. The tiger is a wild animal, seemingly void of feeling and a soul surviving purely on its instincts. He is an unimaginably frightening and dangerous to behold. And yet, Pi is able to form a bond with him, a bond that enables him to survive. Without Richard Parker Pi would have not have had the strength and will to survive (and without Pi, Richard Parker would not survive either).

Life of Pi is also an effects film in that it relies considerably on special effects. But, unlike many effects-heavy films, the plot does not serve the special effects they serve the narrative. Much like with Lee’s handling of 3D, his use of special effects is only to better tell the story (they are not there just to be there). The emotional impact that the film has on its audience does not stem from the visual effects, as impressive and seamless as they are (and they are phenomenally impressive – especially the animals). It is the character development and touching performances that resonate with the audience, and make this film something special.

Grand epics are increasingly common in Hollywood filmmaking, but few are as astonishingly beautiful and emotionally engrossing as Life of Pi. It is the masterwork of a great filmmaker.

Technical, aesthetic & acting achievements: Ang Lee has made almost every type of film (to varying degrees of success). Life of Pi is chiefly a brilliant spiritual character journey, with the action and visuals supporting the narrative. (While I do like Sense and Sensibility, The Ice Storm, Crouching Tiger, Hidden Dragon, and Brokeback Mountain) it is his best film, and one that showcases his maturity and skill as a director.

Mychael Danna’s score has an Indian flavor to much of it (as one might expect), but it also sets the mood for this grand epic with moving pieces that seem to build up the sheer awe of the visuals, while still supporting the emotional tone dictated by the characters and narrative (here is the score in full). Claudio Miranda’s cinematography is magnificently striking and beautifully arresting. While the characters are the principal component of the narrative, the visuals play a large role in the overall experience as well. Miranda captures the audiences’ imagination with his dream-like photography, playing off the film’s grand scale and wondrous thematic elements. David Gropman’s production design is fantastic as well, flush with lavish colors. The look and mood of the ocean and sky feel almost like an additional character, as they contribute beauty, wonder and tension to the narrative.

The cast is mostly made up of actors with small roles in the film. Rafe Spall, Tabu, and Adil Hussain are all very good among these small roles. Irrfan Khan plays the adult version of Pi, telling the story to the writer. He is wonderful, especially in his final scenes in which his performance seems to give the film an additional emotional level. Suraj Sharma makes his film debut as Pi. He is great in the role, portraying the strength, innocence, and heart of Pi.

Summary & score: Life of Pi has all the best things about cinema – a great story, stunning visuals, and compelling characters. It is a cinema experience that all epics should endeavor to be. 9/10

At the Movies – November 2012 – Part 2: Hollywood Films

Serious Films:

Flight (Robert Zemeckis) – Drama – Nov 2

Summary: Pilot Whip Whitaker saves a flight from crashing and is declared a hero, but when a full investigation into the malfunctions is underway something troubling comes to light. Filmmakers: Flight marks the return of Robert Zemeckis to live-action filmmaking. Why should you be excited about that? Well, he made Back to the Future, Who Framed Roger Rabbit, Forrest Gump, and Cast Away. Excited now? He is working with composer Alan Silvestri (The Avengers), frequent collaborator cinematographer Don Burgess and production designer Nelson Coates (The Proposal). Cast: Denzel Washington stars, with John Goodman, Kelly Reilly (who I always enjoy), Don Cheadle, Bruce Greenwood, Melissa Leo, and James Badge Dale in support. Expectations: Flight looks like a good drama, built on a strong performance by Washington and a great supporting group. Sure, Zemeckis is a little hit or miss (What Lies Beneath is not great), but he mostly makes good live-action films. And, from what I have seen, this looks like it is going to be a triumphant return for him. The advanced screenings have generated positive buzz. Trailer: Here. Review: Here.

Action/Adventure:

The Man with the Iron Fists (RZA) – Action – Nov 2

Summary: There is a fabled treasure of gold in a small village in feudal China. A band of warriors, assassins and a rogue British soldier descend on the village to claim the treasure. However, a humble blacksmith stands up to defend himself and his fellow villagers. Filmmakers: The film marks the directorial debut for hip hop legend RZA. He is working with producer Eli Roth (who he co-wrote the script with), composer Howard Drossin (known for video game music), cinematographer Chi Ying Chan (Detective Dee and the Mystery of the Phantom Flame), and production designer Drew Boughton (art director on many big films, including Pirates of the Caribbean: On Stranger Tides). Cast: The ensemble features Russell Crowe, Jamie Chung, Lucy Liu, RZA, Dave Bautista, Rick Yune, Pam Grier, and an assortment of lesser known (in the States) Asian actors. Expectations: The Man with the Iron Fists has played very well in its advanced screenings (though, I think it will not be as well received by the general audience of moviegoers). This is a film made specifically for fans of kung-fu movies (and has a fantastic soundtrack for fans of Wu-Tang Clan style hip hop). If you like classic style kung-fu, this will probably work for you – if not, maybe it is worth a look. Trailer: Here.

The Twilight Saga: Breaking Dawn – Part 2 (Bill Condon) – Fantasy Adventure Romance – Nov 16

Summary: Now a vampire, Bella and the Cullens gather other vampire clans in order to protect her newborn child Renesmee from the Volturi (and other melodramatic stuff will probably happen too). Filmmakers: Director Bill Condon returns for the final film with his whole crew intact from Breaking Dawn – Part 1, including: screenwriter Melissa Rosenberg (who has written every Twilight movie – but is more respected for her excellent work on Dexter), composer Carter Burwell (who scores most of the Coen Brothers’ films), cinematographer Guillermo Navarro (who shoots Guillermo del Toro’s films), and production designer Richard Sherman (Kinsey). Cast: Kristen Stewart and Robert Pattinson star, with Taylor Lautner co-starring. A ton of people feature in support, notably: Maggie Grace, Billy Burke, Dakota Fanning, Ashley Greene, Michael Sheen, Jamie Campbell Bower, Peter Facinelli, Lee Pace, Elizabeth Reaser, Joe Anderson, Cameron Bright, Rami Malek, and Noel Fisher. Expectations: Well, while the franchise has been a success financially and for its fans (and really what else can you ask for), it has been disappointing for the average filmgoer. None of the films are particularly good, including Breaking Dawn – Part 1, despite having some decent people involved. Thus, I do not expect Breaking Dawn – Part 2 to be good either (history is just not in its favor). But, that said, maybe there is enough action in this film to have a broader appeal. Plus, now that Bella is married and a vampire, the overly sappy love triangle stuff should be mostly non-existent in this one (though, having not read the book, I really am just guessing). Maybe the franchise will finally deliver a vampire film that at least approaches equal footing to the great current works of the genre (stuff like True Blood and The Vampire Diaries). Trailer: Here.

Life of Pi (Ang Lee) – Adventure Drama – Nov 23

Summary: Pi, an Indian boy and son of a zookeeper, finds himself adrift in the company of a hyena, zebra, orangutan, and Bengal tiger after a shipwreck in the Pacific Ocean. Filmmakers: Director Ang Lee took on the project after French writer-director Jean-Pierre Jeunet exited. He seems like a good fit for the film, as his visual style (stuff like Crouching Tiger, Hidden Dragon and Lust, Caution) lends itself well to the story. However, Lee has mostly made melodramas. Life of Pi is something completely different from what he is use too (last time he ventured far outside his wheelhouse he made Hulk, which was disappointing and probably the worst of his eleven previous films). He is working with composer Mychael Danna (Moneyball), cinematographer Claudio Miranda (whose work on The Curious Case of Benjamin Button is among the best of the last decade) and production designer David Gropman (Doubt). Cast: Newcomer Suraj Sharma stars with Gerard Depardieu, Rafe Spall and Irrfan Khan in support. Expectations: Life of Pi, while probably more of a Best Picture long-shot, is among the films that should be in the mix come awards season. The film looks magnificently beautiful and Miranda’s photography is phenomenal. I am interested to see how this plays for the average moviegoer. I suspect it will not be as well received as it is a different sort of film. But, for fans of Lee’s work and visual epics, this should be well worth checking out. Trailer: Here. Review: Here.

Comedy:

Wreck-It-Ralph (Rich Moore) – Family Animation Comedy – Nov 2

Summary: Ralph is a video game villain who lives in an arcade. Day after day he plays his role but grows weary of it. One day, he decides to fulfill his dream of being a hero and leaves his game, but this brings havoc to the arcade. Filmmakers: Animation director Rich Moore has a good background, though this is his feature debut, having worked on both The Simpsons and Futurama. He is working with Walt Disney Animation’s head John Lasseter who is executively producing and composer Henry Jackman (X-Men: First Class). Cast: The film stars the voice talents of John C. Reilly, with Jack McBrayer, Sarah Silverman and Jane Lynch co-starring. The film also features the voices of Adam Carolla, Rachael Harris, Dennis Haysbert, Mindy Kaling, Ed O’Neill, and Alan Tudyk. Expectations: Conceptually, Wreck-It Ralph sounds really cool, and I love that they are using many known video game franchises in the film. However, the film honestly does not look that good to me. The story just feels a bit tired. Hopefully, though, I am wrong and it is funny and entertaining. Plus, John C. Reilly is probably going to be great as Ralph. Trailer: Here.